Re: [Avid-L2] Audio Quality and Sync from Cannon 5D into mc?

Because some camera operators and producers freak out at the idea of having anything connected to their camera...and freak out at the whole idea of TC. Since John's production is even considering using 5D audio, I figured "path of least resistance with the producer" was the way to go. Plural Eyes is an easier sell to such producers because they've heard of it. Me, I like TC.

Bouke, I recommend your stuff to lots of people because it solves real problems. But some won't bite. Even those who really should know better (and are working with editors who do know better).

Jim
PS- Even beefed up, 5D audio, as you might say, will SUCK BIG TIME!
PPS- For the record, I don't suck. I ROCK. Thank you.



On Sep 2, 2012, at 1:44 PM, bouke wrote:

> Jim,
> If you do a fair amount of location work and you dare to mention Plural /
> Dual eyes, you suck. And if you mention sync by hand in 2012, you suck.
> (sorry, did i say suck? I ment, SUCK BIG TIME!)
> If you have a decent recorder at hand, why not send TC to the Canon?
> I happen to be the author / owner of a very good TC reader / sync
> application, but guess what, Avid does this straight out of the box.
> Way faster and way more reliable than D / P eyes, and way more 'Pro'.
>
> And for the quality, i don't give a rats ass, since the quality of the cam
> isn't that impressive at all.
> (unless it's beefed up beyond believe, but then it becomes so expensive a
> real cam is cheaper. (and yes, i do own a 5D))
>
> Bouke
>
> VideoToolShed
> van Oldenbarneveltstraat 33
> 6512 AS NIJMEGEN
> The Netherlands
> +31 24 3553311
> www.videotoolshed.com
>
> ----- Original Message -----
> From: "Jim Feeley" <jfeeley@gmail.com>
> To: <Avid-L2@yahoogroups.com>
> Sent: Sunday, September 02, 2012 10:01 PM
> Subject: Re: [Avid-L2] Audio Quality and Sync from Cannon 5D into mc?
>
> "Audio quality" and "Canon 5D" in the same subject line; John, you crack me
> up. Oh my. Let me catch my breath from laughing so hard.
>
> So, building on Dom's and Steve's comments. The clocks on 5Ds, ime, are
> fairly stable but inaccurate. Some cameras hardly drift at all, some drift a
> fair amount (seemingly independent of user error). I'd suggest using the
> backup audio that the mixer recorded as primary audio. Even if they were
> recording from the mixer to a cheap prosumer flash-memory recorder. If the
> mixer is recording to professional gear (Sound Devices, Zaxcom, whatever),
> then no contest.
>
> Sync should be pretty easy with Plural Eyes, if you want to go that route.
> The deal is, the greater the similarity between the two audio waveforms you
> want to match, the better job Plural Eyes does. So if you have good audio
> recorded by a competent mixer and poorly-recorded audio captured by a crappy
> on-camera (or crappy built-in) mic on a 5D and you're in a noisy
> environment, Plural Eyes may struggle. During an interview in a controlled
> environment, things will be OK. But since production is sending the mixer's
> audio to the camera, the camera and audio recorder should have super-closely
> matched waveforms and Plural Eyes will zip through everything. Useful if you
> have dozens of clips to sync up. And slip everything a few frames.
>
> But if it's just a few long takes and you have neither Plural Eyes nor an
> assistant, just sync by hand.
>
> Worst case: use the 5D audio tracks the mixer sent to camera. If it was
> recorded optimally, it'll be semi-sucky and off by 3ish frames (as Steve
> says), but useableish if the your standards are low enough.
>
> Jim Feeley
> PS- I do a fair amount of location audio work.
>
> On Aug 31, 2012, at 6:23 PM, John Moore wrote:
>
> > I searched but didn't find the thread I'm thinking of. I believe Oliver
> > mentioned various legacy format issues with audio sync and some DSLRs. I
> > believe the Panny HVR-200 was known to have some audio sync issues with
> > it's files and perhaps DSLRs like Cannon 5D. We are shooting standups
> > with the 5D and they use to do double system and sometimes it was off.
> > Now they are sending the audio to the camera from the mixer. Is the
> > internal audio on the Canon 5D problematic as far as quality and sync? We
> > also have the audio files to use for backup. Trying to remember what
> > gotchas I've read about on the L-2. You now it's not until I get bit in
> > the arse that I remember something somewhere somehow might be of use.
> >
> > John Moore
> >
> > Barking Trout Productions
>
>



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